"“In the Polish language, if you say ‘it’s history,’ that means it’s very important, the opposite of what it means in English. In the late Eighties, poets began saying, ‘I don’t care about history. I want to write about smoking cigarettes or drinking vodka.’ Adam is ‘in history.’” Illg cites Zagajewski’s recurring references to classical music and Old Masters paintings as contributing factors to the negative reaction."
Arthur Lubow on Adam Zagajewski • Threepenny Review

"By now his readers know the Foust MO: short-short poems, mash-ups of two kinds of knowingness (literary and musical) set against a contemporary exurban landscape suffused with loneliness, violence and erotic need, and never enough money. The borrowings are almost beside the point; Foust doesn't so much appropriate sources as embed his poems in the cultural subsoil that nourished him." Ange Mlinko on Graham Foust • The Nation

"It may seem odd to compare Simko to the Irish poet Eiléan Ní Chuilleanáin — the two have nothing obvious in common — but reading these two poets offers a similar experience: a feeling that the poet is trying to communicate some urgent information, in a code to which I have no access but to which I find myself returning compulsively." Ailbhe Darcy on Daniel Simko • Critical Flame

"Twisting syntax and the abusing grammar are a poet's prerogative, but these techniques are also always a game of roulette: the lines may clunk through such contrivance, or the wonder of novelty fade." Jacob A Bennett on Joan Houlihan • Critical Flame

"What mattered, more than formal skill, more than clever effects or knowingness, more even than the all too frequently sociological "meaning" of the work, was how keenly and completely a poet reimagined language and the world" John Burnside on Ted Hughes • The Guardian

"Add to this his remark in a letter to his sister: "I find it stupid to speak in a booming voice and adopt a platform manner," and obvious as it may seem, now, one has marked the shift in feeling that did more than anything else to transform English poetry after 1908." Elizabeth Bishop on Jules Laforgue • The New Republic (1956)

"Ashbery has found a reliable way in old age of continuing to do, in attenuated form, what he does best: dramatize the way the mind moves among ideas without bothering with the ideas themselves." Stephen Ross • The Oxonian Review

"Although I doubt that these aliens are forming literary communities of their own, as the Americans did in Paris in the 1920s, the cumulative effect is fascinating. One imagines all these outsiders with their strange stories in Ireland, a kind of fifth column, taking notes and waiting." Justin Quinn on immigrant poets in Ireland • The Irish Times

"Money, murder and sex are the main scandals nowadays, and I cannot imagine either myself or any of my literary contemporaries being cross-examined by a famous lawyer-politician because we believed we had been insulted in the press." John Montague on Patrick Kavanagh • The Irish Times

"Contemporary poetry is woefully limited by its over-reliance on the lyric form, but the lyric itself is today further reduced by the absence of the dramatic element." David Yezzi • New Criterion

"Famously, Salinger was anything but a terrific friend to his many fans, and it is a compelling fact that the poet Raymond Ford is something of a blueprint for what Salinger himself would become." John Deming • Coldfront

"Our words seem to us to resonate in a present moment more present than those we normally live. Comparable with moments of making love, of facing imminent danger, of taking an irrevocable decision, of dancing a tango." John Berger on Mahmoud Darwish • Threepenny Review

"Perhaps after years of testing the edges of his mind, stringing out his voice and stretching it to encompass others’, [Bin] Ramke now feels he can incorporate more of the character of other voices with fewer of their words." Craig Morgan Teicher • Boston Review

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The Page is edited by John McAuliffe, Vincenz Serrano and, since September 2013, Evan Jones at the Centre for New Writing at the University of Manchester. It was founded in October 2004 by Andrew Johnston, who edited it until October 2009.